Hastanto, S. (1985) The concept of pathet in Central Javanese gamelan music.,
Durham theses, Durham. University. .... Seni Karawitan. Indonesia .... Javanese
gamelan music uses two kinds of scale called ...... Sunda (West Java),. Cen-.
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The concept of pathet in Central Javanese gamelan music. Hastanto, S.
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Hastanto, S. (1985)
The concept of pathet in Central Javanese gamelan music.,
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Abstract
THE CONCEPT OF PATHET IN CENTRAL JAVANESE GAMELAN MUSIC
Pathet, Javanese
of
one amelan
is
which
often
There
namely
pathet
in
nem in
slendro,
music
is
the
to
tuning
of
system:
lima,
and pathet
in
quality'
Western
music.
in
gamelan
operative
system
distinguish
The Javanese
sanga
pathet
manyura,
pathet
'musical
of mode
of
concept
three
and
pathet
barang
nem and pathet
pathet
Central
of
elements kind
a
and pelog.
slendro
each
most
kinds
two
important
making,
related
are
music,
the
in
pelog. Some by
made
attempts
both
each
pathet.
often
too
general
the
predict In
the
impressions
the
taking
the
as
The performed established
musical
being
strong
of
of
structure
melodic
impressions in
and in
analysis
of fact
the
impression
musicians'
and
however, are
the
pathet,
even
are to
unable
present are
which
in
invariable
them Javanese
and felt
agreed
by
terms
of
theory.
It
gamelan
music
based
and
figures,
context. when
of
study
a
into
phrases,
content, are
of
reliably.
sentences,
pathet an
for
their
characteristics
identified,
phenomena or
been
indeed
consequently
constructs
contour,
account
of
of
and
and
melody
concept
pathet
a method
into
specific
have
pathet and
some
thus
a given
materials
of
introduces
too
of
musicians
native
on
pathet
exploring
gathers
identifying
in
of
theorists
characteristics or
concept
Indonesian
and
succeeded The
the
explaining
Western
have
theories
at
a
melody
a particular
listeners'
minds
is
being
pathet by
three
is
interdependent melody
constituents
Through
the
establishment, thet scribed.
aspects:
in
the
-
interlocking
content
contours, melodic of
further
growth,
musicians'
minds
figures, these
three
consolidation and
their
and
of
contexts
the
phrases
and
sentences.
aspects
the
process
of
of
pa-
are
de-
and
change
performances
THE CONCEPT OF PATHET
IN CENTRAL JAVANESE GAMELAN MUSIC
The copyright of this thesis rests with the author. No quotation from it should be published without his prior written
consent and information
derived
from it should be acknowledged.
Submitted
for
the
degree
of
Ph. D.
at
University
of SRI
Durham
HASTANTO
September ýý
1; TR.1336
by
1985
In
memory
taught children generation.
me
of
my dearest aspect
every who
will
bring
Gendhon
guru, of
this the
Humardani,
life, music
for
and to
who
the
my next
ACKNOWLEDGEMENTS
I the
like
would
Department ways,
many
I
and
became
for
their I
Indonesia
great
help
to
thank
want me in
helped
graphs My
with from
sent
Council
Council
staff care
of
and
providing
all
for
kind
his
of
help
in
for
my supervisor, this
work,
his rough
until
to
the
rare
me and
gave
ASKI
Surakarta
who
my wife
Suhartini,
who
in
recordings
writings,
and
photo-
England.
United
Jakarta,
my thanks
offer
examples.
and
projects,
Kingdom
was
I
grateful
scholarship. in
I
Surakarta,
Akademi
in
karawitan
empu
my colleagues
survey
Java
all
in
materials:
in
study
British
took
Provine,
(ASKI)
in
various
me
provided
Chairman
personal.
supervising
Martopangrawit
Karawitan
Seni
in
patience
Taylor,
a thesis.
Bapak
To
and
Robert
Dr.
to
am grateful
encouragement ideas
linguistic
academic,
Eric
University,
Durham
Music,
of
Professor
thank
to
London, every
am
Edinburgh
necessary
made
to and
assistance.
by
possible the
a
British
Newcastle,
who
PREFACE
Of
the
been
have
only
in
as
one
Music
Patet
discussions
of
in
more
Kunst's Traditional Laras,
Before
background
to to
seems it
repeat
in
Another
gist, some
I
am not but
from
me quite this
present
reason a
necessary
words, a musical
historical,
for
trained
which this and
are
musician's
is
study
not
the
aspects
discusses point
of
view.
the
to
on pathet.
or
subject
avail-
necessary
here
of concept
is
anthropolo-
I prefer
practical to
made
information
Consequently
germane
present
anthropological
sociologist
about
(1980).
thus
it
Lagu,
above-mentioned
or
such
historian,
Becker's
Hatch's
concentrates
including
musician.
such
Music
Jaap
as
1973),
the
sec-
smaller
or
Martin
and
Other
(1975).
music,
that
which
study,
information
The
information so
adequate,
not
Music:
social
The
music.
Javanese
discussion,
main
an
Javanese
a Javanese
music-making other
include
always
writers
their
reaching
and
Javanese
in
such
(1977),
edition
(1972)
of
Pathet"
chapters
recent
Melody
Rethinking
Layang:
on
Javanese
the
to
articles,
Barung"
as
and
Determinant
a
short
about
appear
Java
Modern
in
Music
devoted
are
Gender
(most
Java
in
wholly
"Central
the
works
general
Music
Some
Sumarsam's
matter
Indonesian
as
which
music
both
Theme
Thoughts
and
this
book
(1954).
Slendro
Laras
of
tions
and
of
scholars,
Nuclear
The
"Some
McDermott
of
full-length
a
Javanese Becker's
Vincent
that
is Hood's
Judith
able
a number
Mantle
subject: Patet
by
made
Western,
studies
several
Javanese
in
pathet
include
to of
Javanese In
pathet. of
pathet
-
As
a Javanese
feel
can
it.
But
cated
aspect
of
intentions
my
own
music,
habits ders cultural I
want
about
of
to the
think
I
believe
patterns to
do
traditional
it. in
show -
is
which music.
the
of
rapid which
may
help
most
difficult
very
to
and
feel
One
from
things preserve
their
about
different
cultural what
of
I
compli-
task.
changing some
it
play
the
different
the in
is
Javanese
what
somewhat
Indonesia
Javanese
a
I
music:
which
because
During
something
my
remains to
-
know
pathet,
music, is
background about
analyse
here which
and
I
musician,
outsi-
social may
be
and lost,
knowledge
NOTES TO THE READER
Spelling (1)
With
spelled
to
chart
the
shows
Javanese
and
Indonesian
the
differences
the
government
in
old
spelling
between
are
words
Indonesian
for
new orthography
by the
adopted
following
Indonesian
exceptions,
according
language
old
some
1972.
the
The
new and
the
spellings. new spelling
equivalent
c
tj
chalk
i
di
iuice
y
j
Javanese
(2)
English
you ,
consonants
and
are
d as in
dados
as
spelled
follows: n
sounding
like
th
RM
sounding
like
d in
AM
sounding
like
t
R('7
no equivalent Titles
(3)
of names
personal Terminology ly
spelled
in
are
in
is
articles
appear
is
as they from the
t as in
spelled
tambang
publications, in
appear
earlier
gendhing
as in
th
spelled
and other
in
dh as in
spelled
English
quotations
as they
is
in teacher
spelled
within
spelled
domestic
sound
books,
is
thus
and also
the
writings
kethuk
originals. are similar-
originals.
Terminology There technical
is terms
have attempted 'mode'
no precise
often used to
in
translate
and kempyung
Javanese them
becoming
English
in
equivalent
the
Some scholars
gamelan
music.
( apthet,
for
example,
but
this
'f if th'),
for
can
becoming lead
to
vii
-
confusion
and
misunderstanding.
terms
left
untranslated
are
unfamiliar to
the
with index
the
which
Javanese is
located
-
For in
the
terms at
present used
the
this
end.
study. are
difficult
reason,
Those
encouraged
who are to
refer
TABLE OF CONTENTS ACKNONLEDGEMMS NOTES TO THE READER PREFACE CHAPTER I OUTLINES AND DEFINITIONS
JAVANESE GAMSI., AN MUSIC: Voices,
Instruments, Scale
Functions
Systems
(Laras)
Gendhing
and their
Contexts
their
and
Groups
Gendhing
Irama NOTES TO CHAPTER I CHAPTER II ANALYTICAL TOOLS Javanese
Notation
Balungan
gendhing
Gendhing
Form
Systems
Balungan Gendhing as Basic the Study of Pathet NOTES TO CHAPTER II CHAPTER III EARLIER
THEORIES
From
Kunst
OF PATHET to
Walton
NOTES TO CHAPTER III CHAPTER IV PATHET IN LARAS SLENDRO Thinthingan Senggrengan Pathetan Srepegan
Wantah
Material
for
ix
Summary
and
Analytical
First
Example
Methods
Pathet
Manyura
Pathet
Sanga
Pathet
Nem
Exceptions
Conclusion CHAPTER V PATIIh1
IN LARAS PE[.IOG
Pelog
Pathet
in
Practice
Cengkok
in
Laras
The Traditional in of Pathet
the
Actual
Slendro Pelog
Pathet
Classification Laras Pelog versus
Practice
Gendhing
Pathet
Pelog
of
the
in Laras
Music Pelog
Barang Analysis
Pathet
Pelog Pajhet
Pelog
in
Pelog
Barang
lima
and Pelog
Pathet of
the
Three
Pathet
in
NOTES TO CHAPTER V CHAPTER VI CONCLUSION I
APPENDIX II III
SELECTED BIBLIOGRAPHY
Works Consulted
INDEX
Nem
Manyura
Conclusion
Sources
Pathet
Analysis
Mixtures
APPENDIX
Theories
Bem
Pelog
APPENDIX
and
of Gendhing
Notation
Consulted
Pelog
Bem
CHAPTER I
OUTLINES AND DEFINITIONS
JAVANESE GAMELAN MUSIC:
I
By gamelan life,
musical linguistic of
of
distinction
this
in
the
'gamelan
practical
is
Java and Bali.
has
However,
it
insist
on
are
music',
The
pedan-
Javanese
usage
such
ensemble
indis-
be merely
strict
music
be aware
'gamelan'
would
are
Javanese
to
seem
available,
of
karawitan.
or
word
which
of
a traditional
Most instruments Besides
metal.
a set
the
use
sense
collection
play.
always
the
'gamelan
as
unambiguous
and
meet
needs.
A gamelan
made of
to
expressions
and
ensemble'
thesis
a
a
either
has
krawitan
do not
often
senses.
present
anglicized
when
all
both
they
which
West
the they
as
in
criminately tic
in
studies
music
from
to
refers
Javanese
current
Gamelan
latter:
the
in
meaning
view.
it
music
for
term
separate
Popular
the
to
not
of
Java:
in
thing
instruments,
point
term
its
argue
not
will
the
of
use
a historical
or
a
I
and
a physical
have
the
mean
drums,
the
of the
or
are
four
ensemble
instruments,
metal
two
in
three
the are
islands percussion,
a large
gamelan
instruments
string
of
and some
flutes. Basically Balinese
nesia: style, belongs style
there
found
in
to
Central
which
Surabaya,
is
found
style, West
found
Malang,
Java,
styles
of
in
island
Javanese
and
most
of
in
some
parts
Jombang
the
and
gamelan
style
East of
a few
ý'
Java, the other
of itself
Bali;
Indo-
Sundanese
which
and
East
province
of
places.
in
music
in
fact
Javanese East
Java:
The Javanese
2
style
Javanese
almost
in
basically
music
both
A set called
seprangkat
two
of
consists
Instruments,
both
instruments
produce
which
loud
instruments
is
of
They
music.
those are
which also
group, a
group
rhythmic
of
but
this
together
sets
indivi-
so that
the
A more
de-
chapter.
are
is
Each pangkon
gamelan
called
a gamelan
words,
notes
instruments
gamelan
a gamelan
seprangkat
consists
seprangkat
of
about of
consists
can
be
concentrate
more
instruments
and melodic
with which
elements.
those
(these
melody but
in
rhythm
equally
the
categorising
of
a piece
performing
firstly,
groups:
of
contrast melody; concerned
course is
function
melodic
than
produce
may
instruments
their
which,
are
which
in
three
those
categories:
system
into
divided
rhythm
two
function
their
those
concerned
and
Another
upon with
into
sound,
to
according
Functions
and their
divided
sounds.
secondly, are
be
a soft
concerned
dominant);
in
at
notes
seven
time,
at
later
pelog
Voices, can
only
and
soft
has
called
instruments.
thirty-eight
The
five
pentatonic.
In other
thus
of
five
only
(pangkon).
sets
instruments,
nineteen about
1).
(see plate
consists
intervals,
or
both
sepangkon;
gamelan
thesis
scale
and small
found
is
slendro
either
of
This
of
scale
essentially
scales
of
trans-
kinds
The pelog
use
is
systems
discussion
tailed
scale
large
both
compositions
the
of
nowadays.
two
uses
music
intervals.
including
as a result
in Indonesia
The slendro
equidistant
available,
Papua),
Kalimantan
Sumatra,
of
style.
gamelan
and pelog.
slendro
many parts
(West
occurring
to Javanese
limited
dual
Jaya is
which
migration
to
spread
and Irian
(Borneo)
is
to
has begun
to
the
and
first
finally, with
both
3
The More
detailed
accounts
and "The Javanese Saron
barung
This
rattan
cushions
laid
are
below
it
in
Java
in
slendro,
1973),
(Kunst
is
from
inches
each
as both
also
acts holes
through
and rests
end,
The dynamic
hole,
each
which
by two nails
secured
keys
and seven
above a wooden case
can be categorised
instrument
instrument.
each
Music
keys
six
one and a half
about
tionally
or
Each key
placed
in
given
of
(Hood 1961).
has five
as a resonator.
description
2)
(plate
The keys
in pelog.
are
Rebab"
instrument
this
a brief
is
following
on of
characteristic and loud;
soft
func-
upon melody.
concentrates
Demung The
its
Saron The
The
notes
are
one
or
p eking
penerus the
shape,
number
of
the
saron
barung
its
notes
are
Bonang The
bonang
arranged
in held
cords ten
barung
or
a range
in
twelve of
of
the
those
the
demung
the
function,
is
bigger,
are
saron
the
again is
penerus
and
the
as those
same
in
smaller
of and
size
3) is
equal
an rows
a wooden gongs,
two
as
the
higher.
octave
barung two
the
same
and
lower.
instrument
but
(plate
that
characteristic,
this
one
the
are are
octave
dynamic
keys
of
instrument
differences
function,
the
characteristic,
this
of
barung.
saron and
keys
of
number
dynamic
the
shape,
octaves.
instrument and
consisting
resting
frame.
In
in
pelog
while
The
dynamic
of
horizontally
there
on stretched
this
slendro are
gongs
small
fourteen.
characteristic
has
instrument
is
It
has
loud
and
4
it
functionally
soft; Bonang
penerus
This
has
instrument
being
smaller
made of
a two-stringed
either
wood or
than
more
and it
concentrates
Gender
barung
This
bonang
as the
dynamic
gongs,
of
barung.
It
by
differs
higher.
the
coconut-shell;
two
buffalo
horn it
octaves,
The resonator long
neck
or hard
produces
box is
and tuning It
wood.
has a
a soft
only
sound,
upon melody. 5)
has fourteen The keys
octaves.
individual
fiddle.
spike
ivory,
(plate
instrument
a half
number
one octave
is
of
shape,
4)
may be made of
range
same
and pitched
Rebab (plate The rebab
the
and function
characteristic
pegs
upon melody.
concentrates
bamboo
are
tin
or
keys
and covers
a range
together
strung
and suspended
It
resonators.
two
of
is
a soft,
and over
melodic
instrument. Gender
penerus
The
shape,
are
all
dynamic the
same
penerus
is
gamelan
seprangkat
gender tems, barang differ
pelog have in
the
for
as
smaller
penerus,
function
characteristic, the its
and there tuned
in
and
pelog
bem only notes
five they
three
are
slendro
is
one
Both notes
from
of
two
and
the
number but
to
gender
different pelog the
complete
of
the
In
barung pelog
bem octave pelog
keys
gender
higher.
octave
types
barang.
principal take
barung,
gender
pitch
and
and but scale.
a
and syspelog they '
5
The
shape,
are
again
dynamic the
instrument lowest
have
keys
plus
i. e.
the
two
or
notes)
while
notes
seven
complete
the
usually
slenthem
one
this to
corresponding
Slendro
octave
four
there
to
types
of
being 2
another.
classified It
slight
In
of
has a range in
of
more
range
from
there
seprangkat
slendro,
in-
as a soft
variation
a gamelan in
tuned
garnbang,
also
function.
in
melodic
octaves,
one instrument
is
instrument
and is
strument
three
barung.
But
barung.
gender
octave,
slenthem
7)
wooden-keyed
than
one
the
of
scale.
Garnbang (plate This
only
(one
seven
the
of
gender
keys
seven
slenthem pelog
the
of
or
has
function
and
those
as
basically
six
pelog
characteristic
same
octave
have
the
6)
(plate
Slenthem
are
bem and pelog
pelog
barang. Suling This
instrument
is
soft
instrument
with
in
a gamelan pelog
suling
and
pelog
barang.
The
is
individual
frames
holding
functions.
produce
of
gongs:
gongs
and
loud
can
a set
larger
both
function.
a melodic one
flute,
in
tuned the
classified
There slendro
main
are
and
notes
one
both
of
as
two
suling
in
pelog.
pelog
a
bem
9)
(plate
A kenong
bamboo
end-blown
seprangkat,
The
Kenong
an
gong
each
and
from soft
4 or those
resemble is one
sounds;
mounted to it
5 in
three also
slendro the
of
on
and
bonang
6 in but
diagonally-crossed gongs.
has
both
The
they
are
cords
kenong
rhythmic
pelog.
and
produces melodic
in
6
Kethuk-kempyang
(plate
Kethuk-kempyang
is
The larger This is
a set
is
one
instrument
10)
two
of
gongs
kethuk
called
both
produces
the
and
loud
to
similar
one kempyang.
smaller
and soft
kenong.
the
function
the
sounds,
rhythmic. (plate
Kempul
11)
instrument
This
larger
pended
and
number
usually
are
tuned
one
and
soft
loud
is
another
in
set
diameter to
corresponds lower
octave sounds
has
but
gongs,
than
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that
of
the
both
sus-
vertically
Their
kenong.
the
of
The
kenong.
kenong.
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than
and
of
The kempul
rhythmic
and
pitches produces func-
melodic
tions.
Gong suwukan
This
instrument In
pitched.
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largest
gongs.
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is
there
seprangkat
slendro
and pelog.
larger
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gong
3
lowest-pitched
and
both
produces
function.
punctuating
but
12)
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is
pended
a gamelan
one each for
suwukan,
kempul
the
resembles
In
of
loud
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and soft seprangkat
sounds there
and has are
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one or
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The kendhang and there
soft at
kendhang
13)
(plate is
sounds least ageng
a double-headed and
its
barrel
function
three
types
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kendhang
of
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It
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loud
seprangkat: ciblon,
and
7 (or
kalih
kendhang
depending
varies kendang
in
kalih
the
usage
has
the
simplest
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combination played
played
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alone.
and
complicated
however,
may
be
found
kendhang
batangan
(or
wayangan
(the
mances),
kendhang
and
bedhug
in
(plate
These
instruments
14)
to
respectively.
is
shadow
the
gamelan perfor-
puppet
ensembles
gamelan
ceremonial
two
siter
or
siter
and clempung
of
ensemble
Kemanak (plate consists they
purely
rhythmic
usually
found
the
of
gender
called
and the
siter
there
gender
correbarung two
pelog.
The
instruments,
as soft
than
either
are
and one for
slendro
classified
higher
clempung
and the
penerus
double
twelve
with
one octave
seprangkat
one for
are
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of
and tuned
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clempung,
purely
types
smaller
those In
is
both
The notes
exactly
banana;
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used
ceremonial
a particular
are
clempung.
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in
used
ensembles:
and Clempung
The siter
strings.
function
wayangan)
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are
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of
gamelan
accompanies
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peneteg
used
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kalih
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patterns
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of
patterns.
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drumming
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alone.
more
The the
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with
combination
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upon
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played
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and their
melodic.
15) of
a pair
of
produce
can
function. only
in
bronze both
instruments
soft
court
gamelan.
loud
and
The kemanak
each
shaped
sounds
is
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can
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have
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a rarity, either
in
8
in pelog.
or
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The use of In
most
voices
instrumental
the
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normally free
time),
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perform
to
the
rhythm), the
felt
to
the
in
pieces
these
circumstances
the
female ly,
though
soloist,
a solo
trumental
piece.
long
called
one,
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and is
piece barung,
changes
Pieces in
style.
are
singer,
or female
singer.
the
from
a
vocal
bonang
rebab,
siter,
The kendhang
main -
to
an ins-
two kinds:
melody the
bonang
a
saron if
-
penerus, it.
tempo
the
gender
The
kethuk-kempyang the
a
one,
demung,
decorate
and
sets
by Final-
while
voices
kenong
kempul,
and in
and a short
barung,
and
clempung
suwukan,
piece
com-
used too.
slenthem, the
play
may
is
songs,
are of
by a male
usually
penerus,
gong
introductions
they
this
introduction
the
strict
performed
may be
soloist in
Second,
usually
as
singing
in
singing
independent is
part
of a piece,
derived
of
vocal
merely
singer
melody:
from
in
as soloists:
female
combined.
principal
derived
a male
as punctuation-markers. ates
be the
sung
penerus
suling,
ageng,
and gerong
vocal
bawa,
saron
gender
gambang, gong
These
performance
not
chorus
a male
sung by either
celuk,
(a male
most
function
regarded
no sense
(one
may be used
voice
in
the
are
they
are
sindhen
gerong
monly
case
the
sindhen
is
what
they
ensemble,
applies
used,
however,
music, First,
ways.
if
voices,
In gamelan
different
quite
part
in
music,
world's
feature.
prominent three
the
of
act initi-
and
speed.
generally
conceived
In a loud
performance and the
loud
sounds
dominate,
take
part.
In
the
soft-style
as being the
instruments
soft-sounding the
either
soft-sounding
loud
or soft
which
produce
instruments instruments
do not are
most the
Plate
conspicuous framework
of
loud
and
the
the
music.
instruments
1
Gamelan
seprangkat
play
gently,
providing
10
Plate
2
Saron
Plate
barung
3
0
>^ Bonang
barung
,
11
Plate
4
1
/
I'..ii'
a'
lx,
.ýýý ýr
4e-
Rebab
Plate
5
